Things That Go Bump In The Night, P1 S
by Rhea's Teleplays
Summary: The EMS Killer has nearly paralyzed the city with a rash of promised murders. There is no evidence to point to a motive, pattern, or person, but Greg has a theory. Can he prove it before it's too late?
1. Teaser

CSI: CRIME SCENE INVESTIGATION

"Things That Go Bump In The Night, Part 1"

TEASER

FADE IN:

EXT. LAS VEGAS (STOCK) - DAY

To establish.

EXT. LAS VEGAS STREETS - DAY

Ambulances and fire trucks arrive at a location already brimming with EMS vehicles and personnel.

INT. CENTENNIAL HILLS CLINIC - DAY

Bombs have been strategically placed throughout the clinic.

**CRAIG TOOMEY** stands in the lobby with his thumb resting on a trigger that will ignite the bombs. Toomey slowly turns to face...

DA HUFF (V.O.)  
Mister Toomey entered the  
Centennial Hills Clinic at 8 A.M.  
on August 21st.

The clinic full of patients of all ages. Parents are trying to shield their children with their bodies. Women are crying. He stops, staring out the windows. Police, firefighters, paramedics are all waiting outside. Clear at the back, well out of harms way are **GREG** and **NICK**.

DA HUFF (V.O.) (CONT'D)  
And at 8:20 A.M., that same morning,  
Mister Toomey put to death forty  
innocent people of all ages.

Toomey presses the trigger. The explosion lights up the lobby, fire races through the halls.

EXT. CENTENNIAL HILLS CLINIC - DAY

Everyone hits the ground as the building explodes.

DA HUFF (V.O.)  
Mister Toomey lived long enough to  
commit suicide in jail and escape  
justice. But he left behind an  
estate worth two million dollars.  
We will prove that he did commit  
this heinous crime, and that the  
survivors of it deserve a share of  
Mister Toomey's estate.

FADE TO:

INT. CIRCUIT COURT ROOM J - DAY

The atmosphere is tense. The room is packed, mostly uniformed firefighters, police, and paramedics. Nick sits in the front row wearing a suit. Greg is on the witness stand in a suit and tie. **DA HUFF**, a woman in her mid-forties, turns from addressing the jury to Greg.

DA HUFF  
You were the second crime scene  
investigator in charge of inspecting  
the Centennial Hills Clinic after  
the explosion, weren't you?

Greg's vibrating cell phone can barely be heard. His hand almost goes to it but he consciously presses it against the arm of the chair instead. The phone stops before the next question.

GREG  
Yes.

DA HUFF  
Did you find evidence that Craig  
Toomey had detonated the bombs on  
August 21st?

The phone starts vibrating again.

GREG  
Yes. We found--

**CATHERINE** comes into the room, distracting Greg for a second. She is wearing her CSI vest, not dressed for court.

GREG (CONT'D)  
We found DNA samples inside bomb  
fragments that had not been  
destroyed by the explosions.

She quietly makes her way to the row behind Nick and leans over his shoulder, whispering. Greg doesn't hear the next question:

DA HUFF  
And what references did you use to  
match the DNA from these fragments  
to Craig Toomey?

Catherine nods, handing him a piece of paper. She makes eye contact with Greg and frowns at him before leaving.

DA HUFF (CONT'D)  
Mister Sanders?

Greg focuses on her.

GREG  
I'm sorry. Can you repeat the question?

SMASH CUT:

OPENING CREDITS.

FADE OUT.

END OF TEASER


	2. Act One

ACT ONE

FADE IN:

EXT. LAS VEGAS (STOCK) - DAY

To establish.

INT. CSI VEHICLE - DAY

Nick turns the SUV around a corner and is met by a street full of media and other people. Greg is in the passenger seat trying to pull on a T-shirt with a pocket. Both men have changed and their suits hang in the back of the SUV.

NICK  
What is this?

Greg finally gets his shirt pulled on and stares at the crowd.

GREG  
I bet it's another one.

Nick shakes his head.

NICK  
There wasn't this many people at  
the last one.

GREG  
We haven't been to one in two days.  
They've been getting more news coverage.

Police clear a path for Nick to drive up to the cordon tape. He turns off the SUV and digs out a dollar, showing it to Greg.

NICK  
I have a buck that says it's not.

Greg digs a bill out of his pocket, holding it up.

GREG  
I have one that says it is.

They both put their bets in their shirt pocket. The men get out, grab their field kits, and head inside.

INT. 200 NE SHAVER ST.

Catherine meets them at the door.

CATHERINE  
We have a couple, their two children,  
two paramedics, and one police  
officer, all dead. Nick, I want you  
to start in the basement. I have  
Riley up here. Greg, the yard opens  
onto the desert. Ray is back there  
already, but it's a lot of ground  
to cover, so go help her.

NICK  
Is it looking like he did this?

CATHERINE  
Yes. It looks like the EMS Killer.

NICK  
The EMS Killer.

Greg smiles. Nick shakes his head. Greg turns to leave.

CATHERINE  
Greg.

He turns back.

CATHERINE (CONT'D)  
Don't ever let another CSI distract  
you on the stand again. That weakens  
your credibility with the jury.

Greg smiles sheepishly. Nick looks away, fighting a smile

GREG  
Sorry. It won't happen again.

CATHERINE  
And both of you should know better  
than to bet on a crime scene.

NICK  
How did--

Catherine yanks the dollars each stuck in their shirt pocket. Before the two can take the bills back, she pockets the money as she turns away .Nick mocks him as he walks away. Greg just shakes his head, heading back out the door.

INT. CSI - BREAK ROOM - DAY

The room is packed with the CSI and technicians including **LANGSTON**, **RILEY**, **HODGES**, **WENDY**, and **MANDY**. Greg walks in and sits down in an open chair. Catherine comes in and moves to the front of the group.

CATHERINE  
I just got off the phone with the  
day shift supervisor. They haven't  
come across anything case breaking  
yet. How has the evidence looked  
tonight for us?

MANDY  
You mean other than discovering a  
few of the victims were actually  
criminals with warrants?

CATHERINE  
Yes.

Silence.

CATHERINE  
Ok. Has the evidence we have so far  
told us anything new about the killer?

HODGES  
Not to burst your bubble, boss, but  
if any one of us actually found  
something new right now, I think  
that person would be doing a victory  
dance in the hallway? The EMS  
Killer has been kicking our hind  
ends for three weeks now.

Greg rubs his finger over his lips to keep from smiling.

CATHERINE  
Thank you for that insight, Hodges.  
Does anyone have anything _constructive_  
to offer?

RILEY  
How about theories of the killer's  
choice of location?

Greg shifts in his chair. He has an idea, but doesn't really have the confidence to voice it.

CATHERINE  
What's your idea?

RILEY  
Maybe he's targeting a certain type  
of house. So far all the locations  
seem to have the same architecture  
and color.

NICK  
That's like saying the color and  
brand of lawn mower they all owned  
was motive.

RILEY  
At this point, for all we know,  
maybe it was their lawn mowers.  
Has anyone checked that?

No one else speaks.

CATHERINE  
Riley, Nick, look into your ideas.  
It can't hurt at this point. If you  
get nothing, go back to the other  
evidence. Okay?

They nod.

CATHERINE  
Any other ideas?

No one answers.

CATHERINE  
Well, if that's all, then--

GREG  
(fast blurt)  
I think the killer is someone  
related to, or close to, the clinic  
bomber.

CATHERINE  
Is there something you found that  
you haven't told us, Greg?

GREG  
No. It's just that--

He stops talking when everyone looks at him.

CATHERINE  
Just that what?

GREG  
Well... The killings started the  
same day Craig Toomey committed  
suicide, just like the threat  
letters promised. And the letters  
all had personal information only  
someone related to, or close to,  
Toomey would know.

CATHERINE  
We already checked his background,  
Greg. He had an ex-wife, no children,  
and no surviving family. The man  
only had two people that kind of  
considered him a friend.

MANDY  
I still don't get why he bombed the  
clinic for his ex.

WENDY  
The clinic refused his medical  
insurance and she died because she  
couldn't get treatment. He still  
loved her enough to blow up a  
building and forty people.  
(looks at Greg)  
This serial killer's pattern is  
random. It may be rare, but that's  
what it is.

GREG  
But every serial killer has a  
pattern. Even if it's not obvious  
to us.

RILEY  
And we'll find it, but I agree with  
Wendy this guy isn't killing to  
avenge Craig Toomey.

CATHERINE  
If there is nothing else, let's get  
back to work. Keep digging.

Greg looks at the floor, not leaving with everyone else does.

NICK (O.S.)  
It was a good theory, Greg.

Greg looks up at him. Nick smiles.

NICK  
If you really think that's the  
motive, work on it. Nothing wrong  
with a theory when you have nothing  
else to go on.

GREG  
Grissom told you that, didn't he?

Nick just smiles as he walks out.

INT. 200 BUTLER COURT - NIGHT

Greg and Catherine enter the home. It's hazy inside from clearing smoke. They turn into the living room.

INT. 200 BUTLER COURT – LIVING ROOM - NIGHT

A dead couple, three dead firefighters and two dead policemen are on the floor. The couple had been gagged and bound with black electrical tape. Assistant coroner **DAVID** is leaning over the nearest firefighter, checking his body temperature.

CATHERINE  
It's beginning to feel like we're  
living in a horror movie.

GREG  
Except that you can walk out on a  
horror movie and won't get blood on  
your jeans.

Catherine chuckles.

DAVID  
I just got here, guys. Sorry.

CATHERINE  
Robbins has you running ragged?

DAVID  
No. This EMS Killer is. I'll be  
done with this one in ten minutes.

CATHERINE  
We have more crime scene to work.  
Take your time.  
(to Greg)  
I'll go left, you go right.

Greg nods. Catherine disappears into a hall. Greg sets his kit down and pulls out his flashlight. He begins working the scene, searching for evidence. He kneels down in front of a loveseat, moving the light slowly over it.

He can hear faint breathing, turns and sees David is across the room. He looks down at the firefighter nearby. Greg reaches out, pushing his fingers against the firefighter's neck.

GREG  
David, go call for a medic.

David looks up.

DAVID  
What?

Greg drops his flashlight, quickly moving to the firefighter's side.

GREG  
This one's still alive. Go call a medic.

David drops what he's doing and runs to the door.

DAVID (O.S.)  
WE NEED A MEDIC IN HERE!

The firefighter opens his eyes a little.

GREG  
Hey, can you hear me? Hang in  
there, okay? Hang on.

Catherine runs into the room. David joins Greg in trying to keep the firefighter alive.

INT. SUNRISE HOSPITAL - ROOM 214 - DAY

Detective Jim **BRASS** sits in a chair staring at his cell phone. In the bed is the surviving firefighter, **DARIO** Ricci. Brass looks up when Dario stirs. He puts his phone in his pocket and stands up. The man's eyes open and he focuses on him. Brass smiles as he approaches the bed.

BRASS  
I'm Detective Jim Brass, Mister  
Ricci. Do you feel up to answering  
some questions?

DARIO  
(Bronx accent)  
It's Dario. I'm in the hospital?

BRASS  
Yes. Do you remember what happened to you? How you got here?

Dario thinks for a moment. Brass pulls out a pen and pad of paper.

DARIO  
We responded to a call and... There  
were three of us. Where is Danno  
and Brick?

BRASS  
Brick?

DARIO  
Richard. Was the fire bad? Did they  
make it out?

Brass has to take a deep breath before he can answer.

BRASS  
I'm sorry, Dario. The other  
firefighters didn't make it. There  
was no fire. It was the EMS Killer.

DARIO  
Ah no. No, no, no. That bastard!

BRASS  
It would really help if you could  
tell me what happened. Why don't we  
start from when you arrived at the  
address, 200 Butler Court?

DARIO  
There wasn't much smoke and the  
house was dark.

BRASS  
Dark?

DARIO  
No lights were on. The streetlight  
was  
out too. In that neighborhood that  
was unusual. So we waited for police  
backup like the captain told us to.  
When they got there, we went in.

Dario thinks about that.

DARIO  
But it was wrong. The smoke was wrong.

BRASS  
Wrong how?

DARIO  
It felt... Clean.

BRASS  
Clean? How do you get clean smoke?

DARIO  
Not from a fire, that's how. I  
hadn't gotten my mask all the way  
on when I walked through the door.  
It was cool and moist, like fog.

BRASS  
In a house?

DARIO  
I'm telling you that's what it felt  
like. It was really thick inside.

BRASS  
Okay. What happened next?

DARIO  
Well... Then... Then things got bad  
fast. I remember Brick started screaming  
get out. Then he stopped all of a  
sudden. I heard a gun go off. Then  
I felt something poke my neck and  
then... Then nothin' until I woke  
up here.

BRASS  
Nothing else at all?

DARIO  
Detective, that bastard killed two  
good friends and has made this city  
go crazy. If I remembered something  
else, I'd tell you.

Brass puts his notepad away. He digs out a business card, setting it on the bedside table.

BRASS  
All right. But if you do remember  
something else, call me.

DARIO  
In a New York minute.

Brass smiles and leaves.

INT. CSI - LAYOUT ROOM - NIGHT

Catherine has a map of Las Vegas spread on the layout table. She is writing on paper flags and marking the map with the flags. Greg comes into the room carrying a piece of paper and sits on a nearby stool. She smiles at him.

GREG  
Back on the pattern map, huh?

CATHERINE  
It hasn't been updated in three  
days. Decided I'd do it while I  
waited for DNA results. What'cha got?

GREG  
Good news or bad news, depending on  
how you want to look at it.

He hands her the paper. She rests her hip against the table while she reads it. With a flick of the wrist she tosses it on the table.

CATHERINE  
Sedated just like the other two firefighters.

GREG  
Brass also called. He said Dario  
remembers there was smoke when they  
got there. The interesting thing is  
the firefighter said the smoke was  
moist and clean.

That brings a smile to Catherine's lips.

CATHERINE  
The killer used a fog machine!

GREG  
How do you know?

CATHERINE  
I used one in some of my shows.  
Like a humidifier it creates a  
water vapor, but much finer and  
more condensed. The fog felt just  
like that. It made me feel refreshed  
afterwards too.

Greg's eyebrows lift.

CATHERINE (CONT'D)  
Not one word!

GREG  
You brought it up.

CATHERINE  
I'll make some calls when I'm done  
here. That firefighter is lucky.  
The other two were dosed with enough sedative to drop an elephant.

Catherine goes back to work on the map.

GREG  
I think the dose was on purpose.

Catherine hesitates. She stands up, but keeps working.

CATHERINE  
You think the killer wanted him to live?

GREG  
The dose was too exact. The killer  
left him alive for some reason.

CATHERINE  
You're sticking with your theory,  
still? Even though there is no  
evidence to prove it?

GREG  
It's because we don't have evidence  
that I'm sticking to my theory. I  
remembered that Grissom always said  
when you don't have evidence, work  
from a theory until you do.

CATHERINE  
So what is the killer's motive? And  
why spare this firefighter after three  
weeks? Why is this killer murdering  
civilians as well as EMS personnel?

GREG  
I don't know yet.

Catherine stops what she's doing, looking at the photographs on the opposite wall. She turns to him and smiles.

CATHERINE  
Grissom also said even a theory  
needs a motive. If you have no  
motive, Greg, your theory doesn't  
hold water. Understand?

He nods.

CATHERINE (CONT'D)  
Why don't you make the calls about  
the fog machine? Let me know what  
you find.

GREG  
Sure.

Catherine watches him leave before she turns back to her map.

FADE OUT.

END OF ACT ONE


	3. Act Two

ACT TWO

FADE IN:

EXT. LAS VEGAS (STOCK) - NIGHT

To establish.

INT. CSI - LAB - NIGHT

Greg stares at the hair fibers through a microscope. They're telling him nothing.

He looks up when Catherine sets a box of evidence bags next to his arm and stares at it.

GREG  
You want me to run all this?

CATHERINE  
No. I've been thinking... I'm not  
Grissom, so here's what I'll do...  
I'll give you seventy-two hours to  
find anything that will support  
your theory.

GREG  
Really?

CATHERINE  
Really. And if in seventy-two hours  
you find nothing, you'll let it go  
and focus on the evidence only.

Greg doesn't answer.

CATHERINE  
Greg.

GREG  
Okay. Okay. I promise.

CATHERINE  
Finish what you're doing and get  
started.

Catherine picks up the box and leaves the lab. Greg smiles, turning back to the microscope.

INT. CORONER'S OFFICE - AUTOPSY ROOM A - NIGHT

The doors open and Catherine pushes in a stretcher with a corpse. Robbins watches her.

ROBBINS  
When did I hire you as my  
assistant?

CATHERINE  
David has three more coming.

Catherine stops, looking around the room. It is packed with corpses on stretchers.

CATHERINE  
A full house.

Catherine sees a spot and pushes the stretcher down to it. She parks it and comes back to stand next to the corpse Robbins is working on.

ROBBINS  
I hope you guys catch this killer  
soon. I'm putting in more overtime  
than the county would like.

CATHERINE  
Me too. Anything new?

ROBBINS  
No. This police officer was shot  
like the others.

CATHERINE  
Do you have a bullet?

ROBBINS  
Already sent it to ballistics. You  
know it's going to come back as his  
own weapon, don't you?

CATHERINE  
Probably that his own tools were  
used to kill him. In this case, his  
own sidearm. Have you gotten the  
results on the couple found with  
this policeman?

ROBBINS  
Yes. Over dose of a sedative. Just  
like all the others. I'm afraid  
your killer is dead set on this  
method of murder. No pun intended.

CATHERINE  
We'll find something. Humans are  
innately flawed.

ROBBINS  
You better hope this one's innate  
flaw shows up soon or there could  
be murders involving mobs. Did you  
see that demonstration at the  
Henderson Clinic?

Catherine nods.

The doors burst open and David pushes a stretcher in while pulling another. He stops halfway in when he realizes there's no space left.

DAVID  
Hall?

ROBBINS  
Yes. And make sure to turn up the  
air so they stay cool.

David pulls/pushes his stretchers back out. Catherine's cell phone rings and she answers it.

CATHERINE  
Willows.  
(listens to caller)  
I'm on my way.

ROBBINS  
And the EMS Killer strikes again.

CATHERINE  
See you in a few hours.

Catherine heads for the door

ROBBINS  
Unfortunately.

INT. CRESCENT COVE APARTMENTS - NIGHT

Catherine and Riley enter the building and get on the elevator.

RILEY  
Are you sure this is the right address?

CATHERINE  
That's the third time you've asked  
me that.

RILEY  
I know! I know. But the EMS Killer  
only kills at houses.

CATHERINE  
You know, Riley, other murders are  
happening in Las Vegas that aren't  
this serial killer's doing.

RILEY  
Doesn't feel that way.

The elevator doors open to reveal Brass waiting for them. He steps back to let them out and leads toward an open apartment door with a policeman standing next to it.

BRASS  
The EMS Killer has changed his  
location preference.

Riley smiles when Catherine glances at him, but says nothing.

INT. CRESCENT COVE - APARTMENT 1503 - NIGHT

The two enter the apartment. David is kneeling next to the body. Across the apartment a woman sits in a chair crying. A policeman stands nearby comforting her.

DAVID  
Time of death is between 7 and 9 P.M.

Catherine glances at her watch.

CATHERINE  
Five hours ago.

BRASS  
The girlfriend came home from work  
and found him. The victim is Sergeant  
Johnson, we graduated together. He  
was retiring in three days. Like  
the other scenes there is no sign  
of forced entry and he was shot  
with his side arm.

CATHERINE  
Riley start in here until David  
finishes. I'll start at the  
elevator and stairs.

Catherine finds nothing by the time he's searched the bedroom, bathroom, and kitchen.

INT. CRESCENT COVE APARTMENTS - CORRIDOR - NIGHT

Catherine leaves the apartment, searching the hall. He goes to the elevator and searches the elevator car. He notices a camera in the corner. He steps back into the hall, looking one way, then in the direction of the stairwell. He sees a camera right above the stairwell door. Catherine pulls out his phone and dials.

BRASS  
Brass.

CATHERINE  
This building has surveillance cameras?

BRASS  
I am now. I'll get a warrant for  
the tapes.

CATHERINE  
Thanks.

Catherine hangs up and returns to the car to continue processing it.

INT. CSI - LAB - DAY

Greg is focused on the document on the computer before him. There are several headshots of Petra O'Connor, along with on the bench next to him magazines she's modeling on the cover of. He doesn't respond when Catherine comes in and stands next to him.

CATHERINE  
Greg.

Greg looks up.

CATHERINE (CONT'D)  
Have you found anything?

GREG  
Yeah. Toomey adopted his  
step-daughter, but then gave up his  
parental rights after the divorce.  
We didn't find her the first time because  
she'd changed her last name back  
to O'Connor when she went into modeling.

CATHERINE  
Then why haven't we questioned her?

GREG  
She's a model for Vogue and her  
manager says she hasn't been state  
side for the last two months. But I  
remember seeing her at the hospital  
the day Toomey blew up the clinic.  
I've tried reaching someone at Vogue,  
but apparently LVPD's arm doesn't  
reach to New York.

CATHERINE  
Does she have a record?

GREG  
No, but--

CATHERINE  
I have surveillance footage I need  
you to go through. I had it sent to  
the A/V LAB.

GREG  
Catherine, I--

CATHERINE  
I gave you seventy-two hours to  
prove your theory. I need you back  
on the case and right now, I need  
these tapes processed.

Greg sighs. Slowly he starts closing applications.

GREG  
I'll get right on it.

CATHERINE  
Thank you.

Catherine leaves. Greg watches her and when she's out of sight he quickly pulls applications back up. He rapidly types until he pulls up court information.

He jogs across the room and grabs two forms. He jogs back and fills out the paper work, then shoves them in a fax machine. Greg watches the halls as he impatiently waits for the fax to go through.

It finishes and he folds the forms, sliding them into his back pocket. Greg closes down the computer applications and hurries out of the lab.

INT. CSI - A.V. LAB - DAY

**ARCHIE** and Greg are at two different banks of monitors. Archie has four monitors running street camera footage. Greg is staring glassy eyed at one monitor that's showing an empty hall. Archie looks back at him.

ARCHIE  
How long have you been staring at  
that hall?

GREG  
Actually staring or high speed staring?

ARCHIE  
Actually.

GREG  
Three hours. And I think I made

Catherine mad.

ARCHIE  
How?

GREG  
Not sure. But she gave me this job.  
I must have.

Archie laughs.

ARCHIE  
It can't be any worse than watching  
four traffic cameras. There hasn't  
been anything interesting on yours?

GREG  
This old lady in 5112 goes in and  
out of her apartment every time the  
elevator doors open. And I think  
the guy in 5102 is cheating on his  
wife. She left for work, assuming  
from the waitress uniform, and so  
far I've seen two women come and go  
from his apartment. And the policeman  
came home and nothing else has  
happened for three hours.

Archie laughs again.

Greg reaches out to turn the shuttle knob just as a masked figure comes into the hall. The individual looks very obese. The person is wearing a black ski mask, long sleeved turtleneck and cargo pants. Greg's hand drifts back.

GREG (CONT'D)  
Who are you?

Archie gets up and stands behind him, watching.

The individual goes to the policeman's door and knocks. The person pulls a syringe from a pocket. When the door opens, the person attacks him. On the timecode minutes pass. The old lady steps out her door. The killer comes out, glances at the old lady but keeps walking.

Down the hall the philander comes out. He runs over to the open door of the police officer, then he attacks the killer. The killer uses karate moves that knock him out. The killer then pulls out a syringe and aims it to stab the man. The killer hesitates.

ARCHIE  
The old lady is saying something.

Greg notices that now. The killer suddenly runs into the stairwell. The old lady gets the man and takes him into her apartment. Greg fast forwards the footage, watches the girlfriend come home, the police come.

After everyone has gone the philander finally goes back to his place. Greg stops the video and gets up, pulling out his cell phone.

GREG  
I'll be right back.

Archie nods. Greg walks to an empty waiting room, closing the door.

INT. CSI - WAITING ROOM - DAY

Greg selects a phone number and dials it.

CATHERINE (ON PHONE)  
Willows.

GREG  
There's something you need to see  
on the footage.

CATHERINE (ON PHONE)  
I'll be there in a couple minutes.

Greg hangs up. He sits down, staring at his phone. He opens his phone book and selects the name Squigy, then hits dial. The voice that picks up on the other end is New York's CSI lab tech, **ADAM **Ross.

ADAM (ON PHONE)  
This is Adam.

GREG  
Hey Squigy.

ADAM (ON PHONE)  
Hey Pidge! How are ya?

GREG  
Good. Hey, do you remember when we  
were fifteen and your mom found  
those cigarettes you had hidden  
under your bed? And I told her  
they were mine?

ADAM (ON PHONE)  
Oh yeah! You got in so much  
trouble. Your dad was going to  
ground you for life!

GREG  
(halfheartedly)  
Yeah. Good times. Remember you said you'd do anything for me for that?

Adam immediately stops laughing.

ADAM (ON PHONE)  
What do you want, Greg?

GREG  
I need you to pull some strings  
with your boss for my case.

ADAM (ON PHONE)  
Why aren't you going through your boss?

GREG  
She told me to drop it, but I think  
I'm on to something.

ADAM (ON PHONE)  
Does this have to do with that serial  
killer that's been in the news?

GREG  
Yes.

ADAM (ON PHONE)  
No favor needed. How can I help?

GREG  
I need information on a Petra  
O'Connor or Petra Toomey. She works  
for Vogue and I can't seem to get  
anywhere from Vegas. Maybe a little  
local muscle can get somewhere. Think  
you can do that for me? It's low  
priority so, you know, if they could  
work on it when they had a chance...

Greg turns when the door opens. Catherine is waiting for him.

CATHERINE  
What did you want to show me?

ADAM (ON PHONE)  
Sure. Mac's pretty cool and we  
haven't been too busy lately.

GREG  
Great. Let me know what the trace  
results are when you have them, okay?

ADAM (ON PHONE)  
(taunting)  
You're boss is there, isn't she?  
You are so busted!

GREG  
Whatever. Just do it.

ADAM (ON PHONE)  
Alright. I'll see you in Warcraft tonight.

GREG  
Thank you.

Greg hangs up and leaves with Catherine.

FADE OUT.

END OF ACT TWO


	4. Act Three

ACT THREE

FADE IN:

INT. CSI - INTERVIEW ROOM A - DAY

**MRS. KROWSKI** sits at the table of the bare room, clutching her handbag to her chest. She's a small, feeble woman, and looks terrified.

INT. CSI - INTERVIEW ROOM B - DAY

**MR. DAWSON** sits at the table of the bare room, slouched in the chair and napping. His face and arms are bruised from the attack

INT. CSI - INTERVIEW ROOM A - DAY

The door opens and Greg and Riley enter the room. Mrs. Krowski watches them walk in and sit down. Riley smiles at her, but Mrs. Krowski doesn't return it.

RILEY  
Do you know why you're here, Mrs. Krowski?

She looks nervously from one to the other. Then she leans forward.

KROWSKI  
I've already told you Nazis I am  
not a Jew! I am Catholic!

Riley and Greg exchange a very concerned look.

INT. CSI - INTERVIEW ROOM B - DAY

Nick and Brass enter the room. Nick sits down, but Brass stops at the door. He opens it and slams it shut. Mr. Dawson is startled awake and looks from one to the other. Brass walks over to lean against the wall with the one-way mirror.

BRASS  
Awake, Mister Dawson?

He frowns at him, readjusts in his chair and crosses his arms.

DAWSON  
Didn't do nothin'. Don't know why I  
was drug down here.

NICK  
Could have something to do with you  
running when I came to talk to you.

Dawson frowns at him.

DAWSON  
Maybe you shouldn't have started  
accusing me of cheating on my wife  
with her sisters!

BRASS  
What can you tell me about your attacker?

Dawson looks up at him.

DAWSON  
What attacker?

BRASS  
The one that beat you up in the  
hall. We have it on tape, Mr. Dawson.

DAWSON  
I don't have a clue what you're  
talking about.

Brass sighs -- this is going to take a long time.

INT. CSI - INTERVIEW ROOM A - DAY

Riley leans forward.

RILEY  
Mrs. Krowski, do you recall someone  
attacking a neighbor in the hallway  
a couple of nights ago?

KROWSKI  
I can't talk about things like that.

RILEY  
Why not?

KROWSKI  
I'll get sent to a camp if I talk  
about that!

Riley closes her eyes and sighs -- this was going to take a while.

INT. CSI - CORRIDOR - DAY

Catherine passes the break room and looks up. Greg, Nick, Brass and Riley are sitting in the break room. She stops and enters the room.

INT. CSI - BREAK ROOM - DAY

CATHERINE  
I thought you four were questioning  
the apartment building witnesses.

ALL FOUR  
We did.

CATHERINE  
And?

RILEY  
Mrs. Krowski has dementia or  
Alzheimer, her doctor hasn't  
determined which. At the time of  
the attack, she was reliving her  
formative years in World War II  
Poland. The attacker was an SS  
officer who was trying to take her  
Jewish neighbor away to a camp to  
die. She begged for his life and  
the officer let him live.

BRASS  
Mr. Dawson doesn't recall who beat  
him up. How he got the bruises on  
his face is a complete mystery to  
him. There may be some truth in  
that since his attacker wore a  
mask. That was the only useful  
information we got out of the guy.

CATHERINE  
So we're right back where we  
started from?

The four nod. Catherine isn't pleased to hear this.

CATHERINE  
Nick, Catherine, there's another  
call. I left the information on  
your voice mail. Greg, Doc Robbins  
sent up bullets. Help Bobby, he's swamped.

Catherine leaves. Without any conversation the four leave the room.

INT. CSI - RECEPTION AREA - DAY

Catherine walks off the elevator reading a file folder. The receptionist, **GINA**, is on the phone. She sees Catherine and puts her caller on hold.

GINA  
Miss Willows?

Catherine stops, turning back.

GINA (CONT'D)  
I have a Detective Mac Taylor from  
NYPD on the phone. He's asking for  
Greg. He says he has information  
about Greg's case but I can't find  
Greg anywhere.

CATHERINE  
He went to ballistics. Probably  
can't hear his phone. Take a  
message.

GINA  
I tried. He said he doesn't know  
when he'll have time to talk and is  
insisting on speaking with him.

CATHERINE  
Okay. Let me get to my office and  
you can transfer him to me.

She turns to leave.

GINA  
This was delivered from the DA's  
office. Should I put it in his box?

Catherine turns back, watching Gina set an internal mail envelope on the counter. Catherine takes the envelope.

CATHERINE  
I'll take it.

Catherine heads down the hall to her office.

INT. CATHERINE'S OFFICE - DAY

She just enters when the phone starts to ring. She picks it up, hitting the line.

CATHERINE  
This is Catherine Willows, Greg's supervisor.

MAC (ON PHONE)  
Detective Mac Taylor, NYPD CSI.  
Greg Sanders isn't available?

Catherine already guesses what this is about and it doesn't make her happy.

CATHERINE  
No he's not. I can take the  
information and pass it on to him.

Catherine grabs a notepad and pen.

MAC (ON PHONE)  
Greg contacted us four days ago  
with a low priority investigation  
on a Petra Toomey or Petra O'Connor.

Hearing the name does not make Catherine any happier, but she doesn't interrupt.

MAC (ON PHONE)  
A couple of my CSI had time  
yesterday to look into it and found  
some information for him. They  
contacted her manager. She's been in  
Las Vegas for the last eight months.  
Also, her manager never spoke to a  
Greg Sanders with the Las Vegas  
Police Department. She said she'd  
remember a call like that.

She leans on her desk, finishing writing.

CATHERINE  
Greg said he spoke to a man that  
said he was Petra's manager.

MAC (ON PHONE)  
Petra's current manager is a woman.  
Her ex-manager was a man.

Catherine jots that down.

CATHERINE  
Was there anything else?

MAC (ON PHONE)  
Yes. Yesterday, Greg sent us a court  
order to obtain a handwriting  
sample. We didn't need it though.  
That ex-manager was pretty disgruntled  
over Petra firing him. He handed  
over a copy of her contract. I can  
fax it over if you can give me your number.

CATHERINE  
The number here is 702-556-5556.

MAC (ON PHONE)  
I'll send it over as soon as we  
hang up.

CATHERINE  
Thank you. How do you know Greg? I didn't  
know he knew anyone in New York.

MAC (ON PHONE)  
I don't know him, personally. His  
cousin is one of our lab techs,  
Adam Ross.  
(sounds proud)  
Adam even asked to work in the  
field with my CSI for this.  
Yesterday when I spoke to Greg, he  
said this all has something to do  
with that EMS Killer you're having  
problems with.

Catherine is still angry with Greg, but his tenacity to follow his hunch earns a little respect.

CATHERINE  
Yes. Greg is following a hunch she  
might be involved somehow.

MAC (ON PHONE)  
I hope it pans out for you guys.

CATHERINE  
Thank you, Detective. I'll make  
sure he gets all of this.

MAC (ON PHONE)  
Good bye, Miss Willows.

Catherine disconnects the call and dials an extension.

CATHERINE  
It's Catherine, Bobby. Is Greg down  
there? Where? Thanks.

Catherine gets up, grabs the notes and envelope, and leaves.

INT. CSI - LAB - DAY

Catherine enters with the envelope, the notes she took during the conversation with Mac, and a print out. Hodges and Nick are working in the lab with their own evidence. Greg is working on matching something under a microscope. He looks up when Catherine stops next to him and smiles.

CATHERINE  
How's the investigation with actual  
evidence going, Greg?

He doesn't catch the anger in her tone. Hodges and Nick do, and both turn, watching them.

GREG  
Not so good. The black fibers are  
the same as from the other crime  
scenes. Cotton nylon mix that could  
have come from any retailer across  
the state. All the hair and skin we  
collected matches either donors or  
victims. Nothing is different.

CATHERINE  
And you haven't found evidence that  
you thought might be pertinent to  
this case?

GREG  
No. Should I have?

Catherine looks at Nick and Hodges. Hodges tries to pretend he's not paying attention. Nick isn't ashamed to be staring.

CATHERINE  
You two need a break.

HODGES  
No. I'm good.

NICK  
Out, Hodges!

Nick escorts the lab tech out, closing the door behind him. Greg watches them leave before he turns his worried eyes back to her

GREG  
What's wrong?

CATHERINE  
Didn't I tell you to drop your theory?

GREG  
I did.

CATHERINE  
Really?

GREG  
Yes.

CATHERINE  
Want to lie to me again and risk  
your job?

Greg doesn't answer.

CATHERINE  
That's what I thought.

She holds up the items and then sets them down next to him.

CATHERINE  
This envelope is from the DA's  
office and it's marked as a  
juvenile record. I haven't opened  
it, but I'm going to bet it's about  
Petra O'Connor. And I just got a  
call from a Detective Taylor from  
the New York CSI. Do you really  
have a cousin in their lab?

GREG  
Yes.

CATHERINE  
You continued an investigation  
I ordered you to cease, the DA  
says you said I approved this  
but forgot to sign the release  
form, and you divulged information  
about an ongoing case outside  
the lab--

Greg starts to reply.

CATHERINE (CONT'D)  
And it being another CSI  
department does not excuse you.

Greg doesn't attempt to explain anything.

CATHERINE (CONT'D)  
What you did is grounds for  
termination. So you need to  
give my one hell of a reason  
why I'm not firing you in the  
next five minutes.

Greg doesn't answer.

CATHERINE (CONT'D)  
Greg, if there was ever a time  
to come clean, it would be now.

GREG  
You told me that my theory wasn't  
worth anything without a motive, remember?

CATHERINE  
Yes.

GREG  
If this killer is Petra O'Connor,  
then I think she's avenging her  
step-father's death by killing off  
anyone who helped convict him. Not  
only is that a really long list of  
EMS personnel, doctors, nurses, lab  
techs, but... Nick and I are on  
that list.

Catherine can't stay mad.

CATHERINE  
Fair enough. But--

She leans in, holding his gaze.

CATHERINE (CONT'D)  
From here on out, you come to me  
with every shred of evidence you  
find. You keep this investigation  
on the side for now, do not let it  
interfere with the main investigation. Got it?

GREG  
Got it.

CATHERINE  
Finish up what you're working on,  
get this handwriting sample to  
Ronnie, then come find me. I want  
to know what's in her juvy record.

Catherine shakes her finger at him as she leaves the lab. Greg waits until she's gone to smile. He turns back to the microscope.

INT. CSI - CORRIDOR - NIGHT

Lab tech **HENRY **Andrews is reading results as he walks. Every page he reads is making him even less happy. Behind him **Blaine** Juhl steps out of a janitor closet, quickly pushing in the leg of a corpse.

Blaine has an innocent, boyish charm and is frequently mistaken for Tom Everett Scott.

This illusion of a harmless sweetheart allows him to get close to his victims before they realize what's happening. His Hannibal Lecter's experience and dark pleasure of torturous murder fuels his desire to murder.

BLAINE  
Excuse me?

Henry stops and turns. Blaine holds up a piece of paper.

BLAINE (CONT'D)  
I'm looking for a Greg Sanders or  
Nick Stokes. Their boss gave me a  
message for them.

HENRY  
Greg is in ballistics. I don't know  
where Nick is.

Blaine holds up his hands.

BLAINE  
I'm so new, I don't know where that  
is. I hate to impose, but would you mind?

Blaine holds out the paper. Henry smiles, taking it.

HENRY  
This time. But you better learn  
your way around here fast. We're  
right in the middle of a serial  
killer epidemic.

BLAINE  
I was told. Pretty intense I take it.

HENRY  
No leads. You could say that. See  
you around.

Henry rushes off. Behind him Blaine's pleasant smile turns into something that hints at a dark, hidden agenda.

Henry passes Riley and stops.

HENRY  
Have you seen Nick or Greg?

RILEY  
I'm headed to see Nick now. What's up?

Henry hands her the paper.

HENRY  
Catherine has a call for them. Do  
you mind?

RILEY  
Sure.

She takes it and the two go their separate ways.

INT. CSI - LAB - NIGHT

Carrying the note, Riley enters. Nick is trying to match the ends of electrical tape.

RILEY  
You said you found something on the  
electrical tape?

NICK  
I think we have the first  
conclusive evidence to link all the  
crime scenes together. Look at this.

She stands beside him, watching him trying to match ends. She catches on and the two work the puzzle together. It doesn't take them long to match the pieces end to end, showing the tape came from the same roll.

RILEY  
Same roll. We at least know it's  
the same person.

NICK  
Now if they'd just leave us some  
trace or hair or skin.

RILEY  
Hey, do you know anything about a  
Petra O'Connor or Petra Toomey on  
this case?

Nick thinks about. Slowly shakes his head.

NICK  
Why?

RILEY  
Catherine has me investigating her.  
Wouldn't say why. Oh... I forgot...

Riley fishes the note out of a pocket, handing it to him.

RILEY (CONT'D)  
Maybe you and Greg will get lucky  
on this one.

He takes it, reading the note.

NICK  
I can only hope. Do you mind  
photographing and bagging this?

RILEY  
Nope. Go on.

Nick heads out.

INT. CATHERINE'S OFFICE - NIGHT

Catherine has a large stacks of reports surrounding her. Her head can barely be seen over the top. Handwriting Analyst **RONNIE **Litre steps into the doorway, knocking on the door. He holds a manila folder with the print out Mac faxed over and several letters in evidence bags.

RONNIE  
I have the results from handwriting  
samples Greg gave me. He asked me  
to give them to you first.

She gets up and walks to the door, taking the results.

CATHERINE  
Are you sure the person that wrote  
the threat notes also signed the contract?

RONNIE  
Well, only 98.7% Sure, but--

Catherine rushes out of the office, surprising him.

RONNIE (CONT'D)  
Welcome.

EXT. 1964 R. HINKLEY S. - NIGHT

Nick slows his SUV to a stop at the curb outside the dark house. Greg sits in the passenger seat, staring at the house. Nick leans on the wheel staring at it. For a minute neither man moves.

NICK  
Where are the units?

GREG  
Where are the lights?

NICK  
Let's see what's up.

Nick gets out, grabbing his kit from the back. He shuts the door and finds Greg staring at him.

NICK (CONT'D)  
What?

Greg gets out and grabs his kit. The two start up the sidewalk. Each step seems to be longer than the last.

GREG  
Maybe now would be a good time to  
tell you about my theory.

NICK  
Catherine already did.

That stops them both. They don't move or speak for a moment.

GREG  
What if the killer is inside?

NICK  
We'd be walking right into a trap.

They stand silent.

NICK (CONT'D)  
I'm double checking this call.

Nick pulls out his cell phone and dials. The phone clicks and makes very unusual noises for a cell phone. Nick looks at the face and it reads 'Connecting...' He presses it back to his ear and hears it ringing. The phone on the other end is picked up, and the voice is Blaine Juhl.

BLAINE (ON PHONE)  
Las Vegas Dispatch. This is Joe.

NICK  
This is CSI Nick Stokes. Can you  
confirm our last dispatch?

BLAINE (ON PHONE)  
Just a moment.

There's a pause.

BLAINE (ON PHONE) (CONT'D)  
I'm showing you've been dispatched  
to 1964 R. Hinkley south.

NICK  
So where are the uniforms? We're  
out here alone. With this crazy  
killer on the loose, there's no way  
we're going into this house alone.

BLAINE (ON PHONE)  
I'm showing units were dispatched.  
Let me check on their location.  
Please hold.

Blaine is silent, but the line continues to pop and blip. Nick checks the screen to verify the call hasn't dropped.

GREG  
What's wrong?

NICK  
This connection is awful! Must be  
working on the tower or something.

BLAINE (ON PHONE)  
There seems to have been a  
miscommunication. I'm issuing the  
dispatch again. They should be  
there in ten minutes.

NICK  
Alright. Tell them to hurry. We're  
not going in without them.

BLAINE (ON PHONE)  
I'll let them know.

Nick hangs up.

GREG  
What did dispatch say?

NICK  
The police will be here in ten  
minutes, so... I'll take the back,  
you take the front. Let me know as  
soon as the units get here.

GREG  
Don't you think we should stay  
together? This killer has broken  
pattern once before.

NICK  
But never outside.

Greg nods. Nick heads for the back.

FADE OUT.

END OF ACT THREE


	5. Act Four

ACT FOUR

FADE IN:

EXT. CSI BUILDING - NIGHT

To establish.

INT. CSI A.V. LAB

Riley is working on the computer and has images of Petra O'Connor up. The woman is the idealistic Vogue model - shocking beauty, healthy but still a size zero, a smile that can captivate anyone, flawless.

Catherine blows past the room, and then comes back.

CATHERINE  
Is that Petra O'Connor?

RILEY  
Yeah, and she has all the makings  
of a psychopath Ms. America.

CATHERINE  
What have you found so far?

Riley changes screens as she starts to answer.

RILEY  
Her first assault charge was filed  
when she was ten. She almost beat  
another child to death.

EXT. 1964 R. HINKLEY S. - NIGHT

Nick spots a piece of fabric fluttering in the light breeze. He crouches down to investigate. He sets his kit down then lays his flashlight in the grass to shine on it. He lifts his camera and snaps a couple photographs.

RILEY (V.O.)  
She continued having assault charges  
after that until she was eighteen.

Behind him a person moves stealthily along the shadow of a privacy fence.

RILEY (V.O.)  
Then she went into modeling and the  
charges seemed to stop.

Nick pulls an envelope from his kit and uses tweezers to collect the fabric. He pulls a pen from a pocket and writes on the envelope.

RILEY (V.O.) (CONT'D)  
In this country, that is. I  
contacted Interpol and an agent  
told me that Petra has assault  
charges filed against her in every  
country she's ever modeled in.

Slowly the shadow separates in his direction. The person's fingers outstretch and move as if they were already killing the soon-to-be victim. The person is a size zero with healthy curves that identify her as a woman.

RILEY (V.O.) (CONT'D)  
He went on to say that in the  
countries with no real law against  
murder, they suspect she's murdered  
often and frequently. They just  
don't have proof.

Nick puts the tweezers, pen and envelope in his kit. He reaches for his flashlight as the killer lunges. The killer grabs him by the throat, shoving him to the ground.

RILEY (V.O.) (CONT'D)  
If this is who you think is behind  
the murders, Catherine, you may be right.

He fights back, trying to push his kit away.

INT. CSI A.V. LAB

CATHERINE  
It wasn't my lead. It was Greg's  
and I have more evidence he was  
right. Have you seen him?

Riley almost smiles.

RILEY  
Is, uhm, old age creeping up on you?

CATHERINE  
What?

RILEY  
You sent him and Nick on a call. I  
gave Nick your note.

CATHERINE  
I didn't give you a note for them.

RILEY  
Henry gave it to me.

CATHERINE  
Who gave it to Henry?

RILEY  
I don't know.

Catherine calls Henry.

HENRY (ON PHONE)  
Chem lab.

CATHERINE  
Who gave you a note for Nick and Greg?

HENRY (ON PHONE)  
A lab tech.

CATHERINE  
Which lab tech?

Silence.

CATHERINE (CONT'D)  
Henry, which lab tech?

HENRY (ON PHONE)  
I-- I don't know. I'd never seen  
him before. He said he was new.

Catherine puts two and two together.

CATHERINE (ON PHONE)  
Did you read it? Do you know where  
they were going?

HENRY  
No. Is something--

She hangs up on Henry and heads for the door with Riley right behind.

RILEY  
What's going on?

CATHERINE  
The EMS Killer has moved on Nick  
and Greg. He's lured them somewhere.  
I don't suppose you read the address.

RILEY  
No.

Catherine makes another call.

EXT. 1964 R. HINKLEY S. - NIGHT

The killer grabs the strap of Nick's camera and loops it around his neck. He grabs at it, but it's tightened before he can catch it. Nick tries to scream for Greg, but it comes out as an inaudible sound.

The killer rams a knee into Nick's back. It makes him fall on one arm, pinning it under him. He flails his free arm, trying to grab at the killer's hand or the camera strap. The fight pushes up the killer's pant leg and his hand brushes the killer's bare leg.

Nick curls his fingers and rakes them along the person's leg gathering skin under his fingernails. It causes the killer to move, but not to Nick's advantage. His struggle is quickly getting sluggish. He looks at the flashlight. The light is slowly fading out.

Greg comes around the corner of the house and quickly realizes the situation. He drops everything and charges the killer. The killer turns as he lunges to tackle and moves faster.

Greg grabs air and slides on the grass. He turns and the two wrestle until the killer has him on his back with his arms pinned. The killer pulls his latex gloves off and shoves them in his mouth. Greg tries to spit them out.

With fingers straight, the killer jabs Greg in the throat and he gags, then starts choking on the gloves. The killer pulls electrical tape off their clothes and tapes Greg's mouth shut before he can recover.

Greg sees another piece come off and is about to tape his nose closed so he struggles harder. The killer punches him in the ear, dazing him long enough to tape his nose. Greg turns his shoulder, throwing the killer off balance suddenly.

He tries to get away but the killer jumps on his back. While covering his mouth and nose with one hand, the killer pulls him down with the other. In his struggle to pull away or push the killer off, he grabs a handful of hair, ripping it out by the roots.

Greg's struggle quickly grows weaker as he suffocates. Everything around him blurs. He falls back, seeing sky. He slowly blinks. Then he sees Catherine's blurry face.

CATHERINE  
(very distant)  
Greg, breathe. Breathe! GET THE  
PARAMEDICS BACK HERE! Riley,  
there's Nick. He's not breathing  
either. Greg? Greg, look at me.  
Come on, breathe, Greg. Don't you  
give up on me! Don't you dare give  
up on me!

Then the stars fade into black.

INT. AMBULANCE - NIGHT

Greg becomes aware of voices and slowly opens his eyes. His face is bruised from where he was hit. The world is a dizzying blur of color and light. He can hear a heart monitor beeping somewhere.

Someone takes his hand. The heart monitor increases with his faster, scared heartbeats. He tries to pull away.

CATHERINE  
(quietly)  
Easy, Greg, easy. I'm getting your  
attacker's hair off your hand.

GREG  
Is Nick okay?

Catherine's face comes into focus.

CATHERINE  
Yes.

GREG  
Perfume.

CATHERINE  
Perfume?

GREG  
She was wearing perfume. It's on  
my shirt.

CATHERINE  
I'll get a bag in a minute.

Greg tries to get up but that sets his world spinning. Catherine's hand appears and he lets it push him back.

CATHERINE (CONT'D)  
Relax, Greg. You and Nick did a  
good job collecting evidence  
tonight. We'll have enough for an  
arrest warrant by tomorrow.

The best news he's heard in weeks helps him relax.

INT. PENTHOUSE - NIGHT

**Petra** O'Connor is having a party. She mingles with socialites and celebrities. She wears a hat to cover the bald spot where Greg pulled hair out and thigh high boots that cover the scratch on her thigh Nick left behind.

She goes out onto the balcony as the front door opens. Brass, Catherine, Nick, Greg, and police officers enter the penthouse. Nick's neck is red and raw from the rope burn she gave him with the camera strap. Greg's neck and ear have ugly bruises.

Brass spots her and leads the entourage toward her. He motions two police officers to secure the premises. As they pass people stop talking and watch. Blaine Juhl is among the guests and follows, but carefully keeps his distance.

EXT. PENTHOUSE - BALCONY - NIGHT

The person Petra is talking to stops talking. She doesn't turn around, even though the person is staring. Brass stops behind her.

BRASS  
Petra O'Connor?

She turns her head.

PETRA  
This is a private party you're crashing. I could call the police.

BRASS  
I am the police.

With a smile Petra turns.

PETRA  
You better not have invaded my home  
without a warrant, or I'll have  
your badge.

BRASS  
Oh. Then I'm in luck.

He produces the warrant. She holds her hand out. Nick and Greg come up behind Brass and she tries not to stare at each of them. But Brass and both CSI notice. Brass hands over the warrant. She reads it, then hands it back.

PETRA  
Murder and attempted murder? Those  
are awfully hefty charges. I'll call  
my lawyer and meet you at the station.

BRASS  
That's not how this works, lady.  
You're going now. Then you use that  
one phone to call your lawyer.  
(pulls out handcuffs)  
Turn around.

PETRA  
You don't have evidence.

BRASS  
For starters, maybe you shouldn't  
have worn such expensive perfume to  
a murder. One that you buy every  
month, Petra O'Connor. Or is it  
Petra Toomey?

Petra's lips thin. She hands her drink to the person she had been speaking with and slowly turns, putting her hands behind her back. Brass is cuffing her when one of the **POLICE OFFICERS** he sent off pushes through the crowd to Catherine.

POLICE OFFICER  
Sir, there's something I think you

and your CSI need to see.

Brass grabs her arm and lead her toward the door. She makes eye contact with Greg as she passes.

PETRA  
Enjoying your wake up service, Greg?

Brass gives her arm a yank. She giggles.

Greg follows Nick and Catherine. The officer leads them into the master bedroom and into the closet. He points at a door disguised as a shoe rack.

POLICE OFFICER  
I noticed a wear pattern on the  
carpet. You've gotta see inside.

The CSI enter the secret room behind.

INT. PENTHOUSE – SECRET ROOM - NIGHT

The walls are covered with newspaper clippings and photographs of the bombed clinic. Several hundred faces of identifiable EMS are circled. Greg walks over to the photograph he's in, staring at the red X over his face.

Catherine turns to Nick.

CATHERINE  
Start working the other rooms. The  
more we have to convict this woman,  
the more solid of a case we'll have.

Nick nods and leaves. Catherine joins Greg.

CATHERINE  
I owe you an apology.

GREG  
No you don't.

CATHERINE  
I do. If you hadn't been so determined  
to pursue your hunch and protect  
you and Nick, we might never have  
caught her. You did a good job.

GREG  
(distracted)  
Thanks Catherine.

CATHERINE  
Are you sure you're okay?

Greg nods.

CATHERINE  
Okay. Let's work the room.

Greg nods. Catherine starts on one end. Greg picks up his camera and starts taking photos. He focuses the camera on a shelf of family photos. Very slowly Greg lowers the camera.

Greg reaches out, taking a framed photo off a shelf. The photo is of Petra as a teenager, Craig Toomey, her mother, and a boy.

The photograph gives insight to a secret he's keeping, and brings out fear that makes his hand shake. Greg drops the photo, cracking the glass.

Catherine turns, staring at Greg. The young CSI looks as if he's seen a ghost, transfixed by the photograph.

CATHERINE  
What is it?

GREG  
I need some fresh air.

Greg rushes out before Catherine has a chance to respond. Catherine picks up the photograph, staring at it. What it means is a mystery to her.

INT. FRANK'S DINER - NIGHT

A clock on the wall reads 3 A.M. The waitress and cook are chatting over the counter. In a booth far at the back sits Greg staring into his cup of coffee. He hasn't had a decent night's sleep in days and it shows. He's listening to the iPod he's holding

Nick comes in. The waitress grabs a menu and greets him. The two exchange a short conversation as she leads him to a booth. Nick sees Greg and motions to him. She hands him the menu and he walks up to Greg's booth.

NICK  
Hey.

Greg doesn't look up.

GREG  
(monotone)  
Hey.

Nick slides into the booth opposite Greg.

NICK  
Surprised to see you here on your  
vacation. Didn't that start yesterday?

Greg nods. The waitress comes over and pours Nick a cup of coffee.

NICK  
(to waitress)  
Thanks.

She leaves. Nick leans on the table, looping one finger through the cup handle.

NICK  
You look like hell. What's wrong?

GREG  
Can't sleep.

NICK  
I'm guessing you mean more than  
just tonight.

Nick waits for Greg to say something, but the young man doesn't. Greg sips his coffee. Nick leans back in the booth.

NICK  
Nightmares?

GREG  
Worse.

NICK  
It'll get better.

Greg shakes his head.

GREG  
Not until this is over.

Nick's confused.

NICK  
Until what's over?

Greg looks up.

GREG  
I compared the dispatch recordings  
that sent EMS responders to Petra.  
It's the same person. Here. Listen.

Greg pulls his earbuds out and hands them to Nick. Nick puts them in his ears. The fake dispatch calls play, and in every one it is Blaine's voice.

Hearing the voice shakes Nick. He yanks the earbuds out, throwing them on the table. Greg is surprised by the reaction.

GREG (CONT'D)  
What?

Nick swallows hard.

NICK  
(low and angry)  
That's the fake dispatcher that I  
talked to.

GREG  
(nodding)  
He was also the person that  
pretended to be Petra's manager.  
And he's been calling me dozens of  
times a day. All he says is a time.  
I've turned my phone off while I'm  
on vacation just so I can get a  
little sleep.

NICK  
He's been calling me and saying  
just a time too. Been keeping me up  
for four days straight now.

GREG  
Have you checked the numbers he's  
calling from?

NICK  
(nods)  
Pay phones, never ones with cameras around.

GREG  
What are we gonna do?

Nick shakes his head. He leans on the table staring into his coffee cup.

NICK  
I don't know. But... Whatever we're  
gonna do, we gotta do it before he does.

Greg nods. Both men stare into the dark liquid of their coffee cups.

EXT. ALLEY - NIGHT

A vagrant pushes an overloaded shopping cart down the alley, coming up on a car. He looks in as he passes.

Blaine Juhl meets his eyes and offers a wicked smile. The vagrant hurries away. Blaine watches the two men, pacified by the song on the radio for now.

FADE OUT.

THE END


End file.
